Published 01 March 2019
Published 01 December 2018
Looks at the environment of Maria "Mad Mary" Hermann at her house in Leederville Western Australia.
Exhibition review Works by Anna Platten: Paintings and Studies 1982 -1992
University of South Australia Art Museum
30 July - 29 August 1992
Published December 1992
Art Brut is that manner of making something whereby all of the individual is.
In a remote corner of the south west of Western Australia, a school teacher who had never trained in art, was the catalyst for a school of landscape painting reminiscent of the style of Namatjira. Everything about this story was remarkable, not least that this happened over 40 years ago and that the average age of the artists was 10. The place was a tiny settlement known as Carrolup, now known as Marribank near Katanning.
Naive is a tag used to describe the style of a particular artist and by inference the content of their work. In this examination of 4 contemporary artists working in what can be characterised as a naive style. the author illustrates that they are being anything but naive in the analysis of events, issues and stereotypes.
Book review Tivaevae: Portraits of Cook Island Quilting
By Lynnsay Rongokea
Photographs John Daley
Published Daphne Brussell Assocs Press Wellington New Zealand
Exhibition review Being and Nothingness
Works by Bea Maddock
Queen Victoria Museum and Art Gallery
Outsider Artists in Australia? Of course. The phenomenon is universal.
Book review The Dictionary of Australian Artists: Painters, Sketchers, Photographers and Engravers to 1870
Edited by Joan Kerr
Oxford University Press Melbourne
Mrs Iris Frame is going to be bigger than Elvis Presley. She told the author so herself. Her dream is to establish a museum of her life's work on her property just like Gracelands.
Exhibition review it (ca) speaks...it (ca) sucks. "i(t) too was drag(g)ed into this sub-plot"
Installation by Jyanni Steffensen
Experimental Art Foundation
Adelaide South Australia
6 August - 6 September 1992
The diversity of work found in the art of everyday life transgresses many of the implicit boundaries about art practice laid down by the art world. Other art meets all the criteria by which we usually evaluate art works such as skill, commitment and self-expression yet is rarely seen in a gallery context. In order to recover meaning and value for the art of everyday life the question must be asked: why have these artists been marginalised by the art world?
Artists of the modern era have always been fascinated by the primitive, be it the obsession of the surrealists, futurists and modernists for the art of the Negro, the passion of a handful of British in the 60s for the work of the Cornish primitive Alfred Wallis or Jean Dubuffet's exploration of children's art and the art of the asylum which he termed Art Brut.